Kamilah Bush: You’ve had a storied career. Where did your journey begin? What about music called you to make a life of it? 

Bo Ayars: At 83, I’ve had time to do quite a bit. Music and I have been working together since I was about 4 years old. I kept bothering our neighbors in Bakersfield, CA, wanting to play their upright piano. To keep me from constantly bothering them, my parents bought a small baby grand and started me on lessons. It all came fairly easily for me. A few months later, it was determined that I had perfect pitch, something I loathe today, but, back then, it gave me a chance to be on T-V in Houston, TX. I entered Oberlin Conservatory of Music with a double major,  Music Composition and Music Theory and spent my third year abroad, studying in Salzburg, Austria. After graduation in ‘63, I went back to Salzburg and, of all things, was picked to play timpani in the Sound of Music being filmed there. All you see is the back of my head. Then, back in the states I played lots of Piano Bars in southern California, all leading me to Las Vegas, where I worked with some really great artists, Elvis Presley, Barbra Streisand, and Liberace. I’m still happily playing and writing today, and totally believe in the musical concept: keep playing ‘till you get a cue from God.

K.B.: You were Liberace's actual music director for a number of years, how did that relationship begin? 

B.A.: My 2nd cousin, George Arnold, an ice skater with several famous ice shows in the 50s, was driving ‘cross country with his friend, Walter Valentino Liberace, in the Spring of 1952, headed for Liberace’s solo piano show at the Plaza Hotel in NYC. George and “Lee” stopped by our house in Terre Haute, IN, for a visit. When George introduced us to Lee as an “internationally known pianist,” my mother insisted I play something. So I did, a Bach 2-part invention, I think. When I finished, Lee looked at me, smiled, and said, “Keep practicing.” So, I did. 20 years later, I was the house pianist at the Hilton Hotel, in Las Vegas. I had just finished conducting the Dianne Carroll Show, and was now just the hotel band pianist for the next show, the Liberace show, his first time at the Hilton in Las Vegas. In the first rehearsal, the Hammond organ used in Dianne’s show was still on stage. I thought the sound of the organ would blend with his piano stylings, and it did. Then, half-way through the 4 week run, Jim Nabors’ conductor became ill. I was asked to take over as conductor for his show at the Circle Star Theater in San Carlos, CA. Here’s where money came into play. The conducting job with Jim Nabors paid much more than the Liberace show at the Hilton. I got a sub to cover for me, showed him the music, and discovered he didn’t play organ. “No problem”, I said, “it isn’t actually called for, just something I throw in each night.” Well, the next night, Lee missed the sound of the organ. When he asked his conductor, Gordon Robinson, “What happened to the organist?” Gordon explained I was conducting Jim Nabors. So, Lee discovered that I both played and conducted. A few months later, he asked me to be his Music Director, a job which lasted 13  years.

K.B.: What David Saffert and Jillian Snow have created is a lovely tribute to two iconic artists, one of whom you knew. What drew you to working with them on this show?

B.A.: When I first saw and heard their show, I was blown away by David’s pianistic ability. He captured Liberace’s style, and, at the same time, was able to show what a strong pianist he is. There are several Liberace “impersonators”, ones who have some of Lee’s voice mannerisms but not piano ability, and, of course, the opposite, those with average piano skills but no idea of Lee’s showmanship. David has both. Jillian is amazing in her performance as Liza. The lovely thing is her improv, totally different every show. The combination of these two is spectacular. Both pay a wonderful tribute to these show-biz icons, and both have the professional “chops” to make it happen to perfection.

K.B.: Both Liberace & Liza have such distinct performance styles. David and Jillian have those same qualities. How does that extravagance translate into the music?

B.A.: I think they make it work, musically, by switching between different styles of music/songs, some totally goofy and funny, others totally sad and serious. They’re able to go from one to the other, both as soloists and in marvelous duets, bringing these larger-than-life personalities to life for audiences, and showing just how musically talented David and Jillian really are.

K.B.: Lastly — what is currently bringing you joy?

B.A.: Joy, for me, is music, and using it to make people happy. It can be a weekly piano bar, various jobs on the boats plying the Columbia, entertaining seniors, accompanying my wife in the myriad of musical shows she creates, conducting symphonies and big bands, and arranging for all these groups. Dixieland and Trad music, the serious classical and contemporary music of college, the songs that everyone loves to sing at different functions. . . to me, it’s all about the music, and will always be so, ‘till I get that cue from God.